LDMikeGrabowskiDebutsSolaFrame750sonMTV’sTRL

When MTV’s TRL resumed broadcast in October, the popular music video show unveiled a new approach and fresh look. To help fulfill his design parameters, LD Mike Grabowski of LDG (Lighting Design Group) specified 30 High End Systems SolaFrame 750s for the production, provided through WorldStage Event Services.

You and LDG have a rich history with MTV.

Mike: I’ve been involved with MTV for about 13 years, and LDG's relationship goes WAY back.

The show consistently wanted to be something visually different, something that was nimble and could help bridge the gap between linear and web content. The new show was announced over the summer and Dave Edwards was brought on as the Production Designer. We collaborated on how we could keep the overall aesthetic fresh and interesting, as well as giving the show a creative playground to exist in.

Describe the show’s lighting needs and challenges in design.

Mike: The set provides a unique challenge; we have 12' windows running down the side of our studio, a set that is pretty white, lots of glossy surfaces, including a gloss white floor, tons of lightboxes, some mirrors, and varying grid heights, all of which are fairly low (from 11'-13'). We wanted an environment that was constantly active and that could also change the entire aesthetic of the room - we needed the ability to go from our base white with color accent look into a dance party, and into a basketball competition - all at the drop of a hat.

What motivated you to specify the SolaFrame 750 for TRL?

Mike: When this job began getting discussed, I knew I wanted a unit like the SolaFrame. I'd previously utilized the SolaSpot 1500 on Good Morning Football for the NFL Network, and it's been a huge success for us over there. The fact that it's a native white light means that we could use standard subtractive mixing techniques, and it was the exact right thing for this lower grid height.

What features made it 'the' light for this production?

Mike: Everything about it. The 750 can play as a key in one segment and be an effect light in the next. Great color mixing, combined with robust gobo selection … and toss in shutters? All in a body that takes up only the comparable grid space to a VL2500 or Mac 700? It was a no brainer. Plus, the 750 has good ‘camera appeal’. Because of our low ceiling height, lights are ALWAYS in the shot. This means we need to be conscious of their aesthetics. With its big front lens, the SolaFrame 750 looks great on camera.

Describe how the 750s are placed in the lighting plot.

Mike: The 750s are right in the center of the room, creating the spine of the rig. If you stand anywhere in the 8800 sq. ft. studio, there are at least two, and more likely four to six of the SolaFrames that can hit you. They are leaned on primarily as moving keys, and can get right into a excellent daylight color balance for us. Plus, the second we need it to snap to a color, we have that option as well. They look great tossed into a ballyhoo, and provide wonderful flat field beamage as well.

Who was instrumental in the success of this project?

Mike: Drew DeCorleto and Derek Abbott at WorldStage were miracle workers in getting these fixtures to us on time. We knew we had an 10/2 launch and that wasn't moving. We needed the first units off the manufacturing line and WorldStage made that happen - even in the face of all of the storms that battered Texas. Jerry Grant was my programmer and did stunning work, considering we had the first of these fixtures in the field. There were no profiles built or anything, and he got it all together quick. Dave Edwards was the production designer and helped give us a beautiful (if challenging) world to play in.

What was most rewarding for you as the designer on this project?

Mike: Having finished the initial run of TRL nearly ten years ago, to bring it back to a new generation is a really neat experience. How many people get to do that, especially in television? It was one of the most aggressive schedules that I've ever seen. Prior to 9/24, we had access to less than half of the studio, since the other half was a construction site. On 9/24 the wall came down between the two spaces. Construction continued until 8am on 9/27 - five days prior to launch!